Thesis (D.M.A.)--Columbia University, 2004. / For chamber orchestra. Duration: 9 min. Title from caption of v. 2 (score). Department: Music. Proquest Digital Dissertations Online ; Also available via the World Wide Web; Subscription required.

Thesis--Stanford University. / Includes bibliographical references.

Treatise (D.M.A.) Florida State University, 2005. / Advisor: Patrick Meighan, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-25-07). Document formatted into pages; contains 82 pages. Includes biographical sketch. Includes bibliographical references.

Treatise (D.M.A.) Florida State University, 2005. / Advisor: Eric Ohlsson, Florida State University, College of Music. Title and description from dissertation home page (viewed 5-15-2007). Document formatted into pages; contains 92 pages. Includes biographical sketch. Includes bibliographical references.

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Magma chambers are a fundamental component of crustal magma transport modulating erupted volumes, compositions, and timing of eruptions. However, we understand little about how eruption episodicity relates to magma chamber evolution. A sizable amount of research has been done on the thermo-mechanical and chemical evolution of a chamber, but little has been done in combining the two. The many influences on composition make inference of crustal processes from erupted compositions dicult, but there are patterns of eruptive evolution in well- characterized systems that suggest something systematic is occurring. We have developed a coupled thermo-mechanical-chemical model in order to characterize melt evolution through cycles of chamber filling, rupture, and drainage in a thermally evolving, viscoelastic crust. We consider a deeply seated oblate spheroidal chamber, calculating pressure, temperature, volume, elemental concentration, partitioning between crystals and melt, and crustal temperature through time. We characterize the time dependence of chamber failure, thermal longevity, and melt elemental concentrations on mechanical parameters and influx rates, exploring the dependence on depth, primary and crustal compositions. These results should be important for constraining physical controls on eruption episodicity and predictions of instability at magmatic centers.

Arda is an instrumental chamber work scored for cello, percussion, and multiple keyboards with a total duration of approximately thirteen minutes. The work is structured in an arch form whose divisions are based on instrumental and textual groupings. The pitch organization utilizes prominent intervals, improvised passages on certain passages on certain pitches, and the double harmonic mode, which is derived from an Indian raga. Various instrumental techniques are also used throughout the work to alter timbres as well as to create more interesting vertical sonorities.

Antithesis is a composition, approximately nine minutes long, for chamber orchestra (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 trumpets, 2 horns, 1 percussionist, prepared electronic tape and strings). Although not formally divided into movements, there are four major sections, analagous to the classical symphony. The primary thrust of the work is to juxtapose opposing timbres, rhythms, and modes of sound generation (instrumental versus electronic) in ways that lead one to another without formal harmonic or melodic logic.

A Different Drummer is a chamber opera adaptation of Donald Davis's story "A Different Drummer" from his collection Listening for the Crack of Dawn, published by August House. The opera lasts about seventy minutes, and calls for a cast of three and an orchestra of sixteen players. It contains a prologue, epilogue and four scenes in a single act. The score is prefaced by a paper describing the musical strategies employed in setting the story as an opera. Three chapters describe the adaptation from short story to opera, the essential musical elements, and details of the application of the musical elements in each scene of the opera. The libretto is presented in the fourth chapter.

"The Crystalline Sense" is a composition in one movement for chamber orchestra with the following instrumentation: flute, oboe, clarinet in Bb (doubling bass clarinet in Bb), bassoon, horn in F, trumpet in Bb, trombone, percussion and strings. The composition is approximately nine minutes in length. The goals of the work are (1) to employ intra-sectional practices, (2) to derive all rhythmic ideas from the main themes, (3) to combine certain elements of chromatic, whole tone, and certain triadic structures into a valid compositional technique effective in both vertical and horizontal situations, (4) and to produce a piece of music of moderate difficulty which fully exposes each instrument technically and lyrically.